Giulio Cesare, the best of the Procaccini, at first devoted himself to sculpture with success, subsequently attaching himself to painting, as to a less laborious and more pleasing art. He frequented the Caracci Academy at Bologna; and it is said, that taking offence at some satirical observations of Annibal's, he struck, and even wounded him. His French biographer states Giulio's birth to have occurred in 1548, though he postpones this quarrel until 1609, in which year the Procaccini established themselves at Milan. It must have occurred, however, much earlier, as in 1609 Giulio was a renowned painter, while Annibal was in his decline. Giulio Cesare's studies were directed to the models of Coreggio, and it is the opinion of many, that no one approached nearer to the grand style of that artist. In his small pictures, with few figures, in which imitation is more easy, he has often been mistaken for his original, though his elegance cannot boast the same clear and native tone, nor his colours the same rich and vigorous handling. One of his Madonnas, at S. Luigi de' Francesi, at Rome, was, in fact, engraved not long since for a work of Allegri, by an excellent artist; and there are other equally fine imitations at the Sanvitali Palace, in Parma; in that of the Careghi, in Genoa, and other places. Among his numerous altar-pieces, the one I have seen, which displays most of the Coreggio manner, is at S. Afra, in Brescia. It represents the Virgin and Child, surrounded with some figures of Angels and Saints, which are seen gazing and smiling upon him. He has perhaps, indeed, gone somewhat beyond the limits of propriety, in order to attain more grace, which is the case with his Nunziata, at S. Antonio, in Milan; in which the Holy Virgin and Angel are seen smiling at each other; a circumstance hardly compatible either with the time or the mystery. In his attitudes, also, he was occasionally guilty of extravagance, as in his Martyrdom of S. Nazario, in the church of that name, a picture attractive by its harmony and its grace, though the figure of the executioner is in too forced a position. Giulio left many very large histories, such as his Passage of the Red Sea, at S. Vittore, in Milan; and more in Genoa, where Soprani has pointed them out. What is surprising, in so vast a number of his pieces, is the accuracy of his design, the variety of his ideas, and his diligence both in his naked and dressed parts, combined at the same time with a grandeur, which, if I mistake not, he derived from the Caracci. In the Sacristy of S. Maria, at Sarono, is his picture of Saints Andrea, Carlo, and Ambrogio, displaying the most dignified character of their school; if, indeed, we are not to suppose, that in common with the Caracci, he acquired it from those magnificent models of the art at Parma.